CONFERENCE by Interactive Imagination Conference
Interactivity is one of the most remarkable effects of the increasing penetration of digital tech... more Interactivity is one of the most remarkable effects of the increasing penetration of digital technologies in our lives. Two interconnected aspects
Drafts by Interactive Imagination Conference
Papers by Interactive Imagination Conference
The arts have helped us see deeper into what we have to expect from the emergence of important te... more The arts have helped us see deeper into what we have to expect from the emergence of important technological innovations. Is this the case also in the age of the internet and of the digital technologies? The present article proposes an anthropological approach to this question by addressing the following issues: 1. What do we mean by saying that the prevalence of the imagination over the articulated language might have regressive consequences?; 2. Is it true that the powerful automation ensured by the electronic technologies beat our imagination to the draw? 3. Which are the possible paths the arts could undertake in this context?
Keywords: art; technic; interactivity; imagination; anthropology.
La modernité nous a laissé une interprétation assez inadéquate de l'imagination, qu'elle comprend... more La modernité nous a laissé une interprétation assez inadéquate de l'imagination, qu'elle comprend surtout comme une « faculté du sujet » spécialisée dans l'évasion hors de la réalité -fût--ce avec des intentions nobles et pas nécessairement régressives. Abandonner ou rectifier ce point de vue suppose d'interroger l'imagination comme un dispositif complexe qui pourvoit à la mise au point de schèmes (en un sens kantien sur lequel je reviendrai amplement plus loin) grâce auxquels notre activité cognitive et notre faire pratique et productif interagissent -de manière constante, systématique et créatrice (c'est--à--dire en y introduisant des innovations) -avec le monde réel et les autres êtres humains. Il est donc évident qu'une réponse au besoin d'une définition plus adéquate de l'imagination et de son travail impose immédiatement une redéfinition du concept d'interactivité. Comme pour l'imagination, nous travaillons surtout aujourd'hui avec une interprétation très réductrice de l'interactivité, et même avec une interprétation égarante, qui nous empêche en particulier d'en mieux saisir les aspects innovants, ce qui veut dire les aspects émergents, mais aussi les opportunités, qui tiennent surtout au fait que l'interactivité opère, en règle générale et depuis toujours, selon des formes
sommaire La présence médiale des corps étrangers 166 Yves Citton
It has never happened before, in the history of mankind, that such a great number of images has b... more It has never happened before, in the history of mankind, that such a great number of images has been made accessible to an almost equally great number of persons, who are sufficiently equipped with the expertise necessary to trace, download, share and archive them. But, far more important results also the capacity to produce, manipulate and upload them on the web. It is enough to visit, if you have never done so, Instagram or Mixbit to realize what an amazing quantity and heterogeneity of audiovisual materials there are; moreover you will also notice the equally extraordinary capacity of these materials to transform themselves into elements of a repertoire that at the very least can be edited and re-edited in sequences or paths 1 . If this is deemed its minimum possibility, what then could be its utmost potential?
En 1982, Gilbert Simondon écrit une lettre, jamais envoyée, à Jacques Derrida. Dans ces pages éme... more En 1982, Gilbert Simondon écrit une lettre, jamais envoyée, à Jacques Derrida. Dans ces pages émerge le concept fondamental de techno-esthétique. La réflexion esthétique que Simondon y esquisse consiste en une reprise et une radicalisation de ce qu’il avait déjà théorisé dans Du mode d’existence des objets techniques, à propos du rapport très strict que l’on peut envisager entre technique et esthétique : la sensibilité humaine a toujours été connectée avec des prolongements techniques par lesquels cette sensibilité de l’individu se réorganise, tout en réorganisant ce qui l’entoure. Cet article vise à montrer que ce type de conception techno-esthétique est également présent dans certains textes de John Dewey. La convergence entre les deux auteurs s’exprime également dans leur façon de considérer le rapport, que l’on peut qualifier de co-constitution, entre l’organisme et son milieu ; tout comme pour Simondon, qui développe la notion de « milieu associé », il n’est possible, pour Dewey, de concevoir un individu qu’à partir de sa relation à un milieu. Par là, c’est le parallélisme entre les notions de « transduction » et de « transaction » qui sera à explorer.
The goal of the paper is to present an analysis of the new medial forms of elaboration of collect... more The goal of the paper is to present an analysis of the new medial forms of elaboration of collective memory. Moving from the distinction, advanced by Aleida Assmann, between stored memory and functional memory the paper supports the thesis that the web is an apparatus of stored memory, but also the potential place where to create functional memory. In the sphere of online participatory culture this necessary, but critical, transfer from stored memory to functional memory is based on a peculiar form of post-production.
In the present paper I will try to show that screens represent a general condition of the visual ... more In the present paper I will try to show that screens represent a general condition of the visual representation, even for these images being not -or having not been -actually projected on screens. In other words visual representations' beholders approach to images as if they are dealing with screens, whether screens are the effective media of images or not. The beholder, while reorganizing his (or her) visions in a way that makes evident that it is a representation, and not a real experience, is already projecting the image on a virtual screen: the beholders 'screen' images, by grasping their representational sense.
The paper analyses a movie recently appeared in Italy, Belluscone (2014) by Franco Maresco. The t... more The paper analyses a movie recently appeared in Italy, Belluscone (2014) by Franco Maresco. The title refers to the deformation of Berlusconi’s name in Sicily. The movie does not speak, however, of the typically Italian “hero” Berlusconi, but of “Belluscone” that is the link for a common feeling whose Sicily is an exemplary case. Through the reference to Lyotard and Jauss among the others, the aim is to show that “Belluscone” is no longer a symbolic disposition, and becomes a sensible surface of contact to which everybody connects in order to have an experience. With its Baroque and ambiguous investigation of “bellusconian” Palermo, the movie makes no exception.
Il saggio si pone come riflessione filosofica sull'opportunità odierna di un'educazione tecno-est... more Il saggio si pone come riflessione filosofica sull'opportunità odierna di un'educazione tecno-estetica, partendo dal presupposto che la sensibilità umana sia naturalmente predisposta a prolungarsi negli artefatti tecnici che l'uomo ha nei secoli utilizzato come protesi. Il modo in cui l'essere umano interagisce con l'ambiente risulta essere esternalizzato nelle tecniche esistenti e da queste orientato. Particolare rilevanza viene data ad alcune riflessioni di Simondon e di Kant, e ai concetti di senso comune e di immaginazione come schematismo tecnico. Nella parte conclusiva del saggio l'attenzione si sposta sulle caratteristiche di innovazione delle tecnologie digitali, e sul loro ruolo nell'influenzare senso comune, lavoro dell'immaginazione e – pertanto – natura dell'educazione tecno-estetica.
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CONFERENCE by Interactive Imagination Conference
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Papers by Interactive Imagination Conference
Keywords: art; technic; interactivity; imagination; anthropology.
Keywords: art; technic; interactivity; imagination; anthropology.